Elliott Grabill

composer | songwriter | teacher

Category: Electronic music (page 2 of 2)

Crnogorska

for stereo fixed media

“Crnogorska” was featured at the Savamala Soundwalk in Belgrade, sponsored by improvE and Belgrade Sound Map.

A soundwalk is a different way of experiencing music. On 15. August, 2014, participants downloaded “Crnogorska” to their phones and listened to the piece while taking a soundwalk around the Savamala neighborhood of Belgrade.

I was assigned a section of the route which included Crnogorska St. The piece only employs sound samples from my route. The improvE collective gave me 4′ 34″ of sound, about the amount of time it takes to walk the route. I was asked to compose a soundscape of the exact same length, so that the work’s duration would last the same amount of time it would take listeners to walk the route.

 

 

Un Jardin

for stereo fixed media with optional video

One question I ask myself when writing music is “would I listen to this?”  I make it a habit to record everything I write or improvise.  I leave it alone for a while, and then listen again.  If it’s not engaging to me while I’m driving my car, getting dressed, or cooking dinner, I toss it for something that is.  My first computer piece, Un Jardin also became the piece that for a while I listened to far more than any other of my compositions.

I actually composed Un Jardin while writing a choral piece.  The piece wasn’t going anywhere, so I took a break and started playing with Garage Band on my computer.  I recorded overtones from my piano.  I edited out the initial strike of the piano key and faded in the sound.  Then I laid the recordings on top of each other, staggering them to create (unlike a piano, and more like a violin) a continuous sound.

Editing the gain, pan, and laying multiple tracks on top of each other were the only ways in which I used technology to alter the recordings.  The first movement, “Un Jardin,” begins with the soft sympathetic vibrations of the piano (caused by me striking open fifths) and reaches a warm climax with the fundamental vibrations of the lower piano strings.  In the second movement, “Ceres”, I created a grinding vortex of sound with a subtle, pulsating rhythm, sometimes with chords emerging from the stew of over 44 simultaneous tracks.  I took a similar though less radical approach with the third movement, “Quasi Sostenuto,” this time giving the piece more of a harmonic quality.

Though modern sounding, the structure of my three-movement piece takes influence from classical archetypal forms to lead the listener on a journey.  The arch-like first movement invites the listener into a hypnotically pensive soundscape and is followed by a “scherzo” of sorts in the second movement; the piece ends with the third movement returning the listener into a sublime meditative state before fading into nothingness.

Listen below!

I.  Un Jardin

I. Un Jardin

II.  Ceres

II. Ceres

III.  Quasi Sostenuto

III. Quasi Sostenuto

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